With your track record of arranging, composing, and conducting, I can't help but wonder how did your love for music begin and develop?

Music has always been a natural part of me and my life. My grandparents were musical and those genes have passed on to me. My parents are somewhat musical too and appreciate music. My father exposed me to the classics and my mom exposed me to the gospel and traditional music of our heritage. I crawled to my grandmother’s piano at 6 months, pulled myself up until someone sat me up on the piano bench. Today, they have a picture of me sitting at that piano with my hands on the keys.

I also am most calm and secure around music. I was a restless child. To get me to sleep, someone would have to sing to me or music would have to be playing in order for me to 'go down’ peacefully. I can remember my father yelling down from the floor above me, “Lloyd, it’s time to go to bed. Turn off the music.”

I have also been nurtured by some wonderful music teachers while growing up. In elementary school, my music teachers were “cool” people. All my teachers were white, not that that matters, but they did not treat me as a “black” student. I was talented and eager to learn. They respected that and allowed me to go as fast as I desired. I out grew most of my teachers also. One gentleman who I took organ lessons from told my parents after about 3 months worth of lessons that I had surpassed him. He told my father that I needed to go to a place where the teachers would be able to really guide my gift. In that, my parents sent me to Pine Forge Academy. While there, the Fosters’ inspired me. More than them, Wilbert Augustus Cheatham, the principal at that time really pushed me. I assisted the Fosters’. If Allen Foster did not come, I accompanied the choir. If Mrs. Foster was not present, I would conduct. If neither were there, I would do both. So I guess what I am sharing is that music found me more so than I found it. I have embraced the gift. I am thankful for the gift.

What are some of the schools you attended and do you have any favorite musical memory from 'back in the day'?

As I said previously, I have gone to both public and private schools. I truly enjoyed playing in the band more than singing. While at Pine Forge, Mr. Michael Jones who teaches French and English composed for a Woodwind ensemble. I truly loved that group. I had to learn how to play the flute, because all the other members played the clarinet. I played one too, but flute was needed. So I picked up a wood stick, drew holes like a flute, found a flute book and taught myself over a summer. Eventually, I bought an instrument. I believe it was for Christmas, my parents purchased me my first open hole French model flute. I was in heaven.

After PFA, I went to Oakwood College. It was not until I met Dr. Nathan Carter at Morgan State that things changed for me as to my perspective about music. Morgan was a great impact on me and my life.

When I attended Oakwood I believe that the Aeolians would practice with you several times a day. I believe that those singing with you might call you a perfectionist, so what guides you as you prepare to share a musical selection and how do you know when the choir is ready to present it?

I hear all of these myths to this day. Some say I was a tyrant. Others have said that I was crazy or demanding. A no nonsense, serious person. The students at Oakwood College did not read music. I was doing my best to prepare my students regardless of their music major/minor status that music was a way of life. Doing it half way will carry over into other situations in their lives. Being tardy; you’ll be late for work. Lack of discipline, your inconsistency will follow you in your marriage and or parenting.

Each of my choirs had a personality. The lesser talented choirs were more humble. They tended to work harder. So we bonded differently, thus I would select music based on that bond. If I had loaded ranks, i.e., high sopranos, high tenors, deep basses, rich altos, then I would pick a capella music to showcase those assets. If I had a weak link within the ensemble, I would work to strengthen that weak link, but I would also find music to accentuate those good qualities.

When I went back to Oakwood College from my study leave, the choirs were eager to learn. They actually liked me and wanted to rehearse. I would be rushing to finish before the period was done and when I would say time is up, they’d sit there wanting more. The last two years I had the Aeolians were probably the best choirs ever at Oakwood College. They could sing ANYTHING! Even the gospel music…..so I could stretch MYSELF, because I am not a gospel singer or conductor, but due to their ability to deliver the style, we sang music that I dared not do prior to my study leave.

You have not only choirs, but wind ensembles and orchestras as well, which is most challenging? What is a secret to effectively conducting and bringing a piece to life?

Singing is definitely more challenging to teach. SINGING IS HARD! I take a voice lesson weekly myself. I do it so that I know what to tell my good and bad singers. I also want to model excellence in vocal production. It is said that instrumentalists are better musicians. They play what they see; the dynamics, the notes, the articulations, the tempo markings, etc. Singers, they just sing. So you have to constantly encourage them to do just like the instrumentalists. Watch the notes, sing the pitches and rhythms you SEE correctly and in tune. Instrumentalists generally just play. They possess no expression, no passion, just boring! Once you get them to connect and perhaps hear words to their melody (even made up words) the instrumental music then becomes like a vocal piece. So, I attempt to merge both instrumental and vocal philosophies together to make an IMPACT. Vocalists ought to be like the instrumentalists: a good musician. Instrumentalists, ought to be like a good vocalists. Play your melody so that it is lyrical. So the secret to effectively conducting and bringing a piece to life is KNOW THE MUSIC. Teach to impact your musicians, so that they are empowered to make an impact on the audience. No one deserves to hear BAD music!

You seem to have a passion for sharing music rooted in history and heritage. Where does this come from?

I was influenced by Dr. Nathan Carter. He would teach a variety of music from all genres and art periods and do them impeccably well. He showed me that African Americans were just as capable of singing the classics as others. Our approach to the teaching and the performing of the style might call for more work, different teaching methods than others, but he proved that it could executed well.

I believe that you are the only African American Adventist with a Doctorate in choral conducting, what would you like to say to inspire or prepare someone else who would like to pursue the same goal?

If this indeed is true, I will be joined by Jason Max Ferdinand soon. Although, he’s Trinidadian.

What I would say to someone up and coming is that there is plenty of BAD music out there. Prepare yourself. Learn all you can. Be open minded. Be inspiring and humble. Embrace every opportunity as a major event. One great performance will lead to another opportunity and another and another. Soon, you will establish a reputation for greatness. People love to be a part of greatness. Audiences love to come hear inspiring music. The two go hand-in-hand. This is my two cents worth of advice.

You have seen up close just how much musical talent the Seventh-day Adventist church has been blessed with. What do you think we can do to better promote, support, and utilize these talents?

I hope you bold these statements! I honestly believe that the remnant will be a chorus. Can I prove it, I can take a stab at it if asked. Our Adventist church will have to answer for the neglect it has given to the arts – music, drama, dance, etc. Nature sings and moves. Why do we stifle our humanness in this regard?

Our loving ministers who are leaders abuse our musicians. The Bible clearly defines what should be done with our musicians. More and more Adventist musicians are going to school. They are educating themselves. In my career, I have taught hundreds. I have an ensemble that is begging me to sing, but where and with what resources.

The Adventist church forces the Adventist musician to go into the “world” in order to use its God given talents. If you go to a first day church, more than likely you will find at least one Adventist on their music staff. I am a witness. I am an Artist-in-Residence at a Baptist church and they asked me to name my price to serve two Sundays’ a month. I know they keep their tithe, etc. If the Adventists really follow the Bible like we say and preach we do, money will not be an issue. We have money. We choose not to spend it on quality music. So I will conclude this response by saying the Adventist Church needs to Evangelize music with a seriousness of purpose. Satan is a musician. We really do not get that. Our church is way off the mark with what the Bible intends for music and that I can prove! The church needs to pay its musicians. Better music for worship, for our children. Invite qualified musicians to direct our choirs. Stop using gospel music for everything! Invite clinicians to work with the potential in each church and build it up for music ministry. Call me! I’m ready to work! I love a good challenge. There is not a voice I could not teach with God’s help. Our church needs to take back what Satan is stealing. I can tell you what he has stolen…..Quality! Holiness! Musicianship! Commitment! Let’s get it back!!!!

The Bible lets us know that to whom much is given, much is expected, so where do you sense God leading as you seek to share your talents?

I’m going to be honest! I do not know what God is up to in my life. I am anxious to do great things for God, but convincing others of your vision is always the plight that I always seem to face wherever I go. I am beginning to think that there is not a place for me in the Adventist work. I wrestle with God EVERYDAY to turn me loose. I am not envious of others, but I do feel caged in a small box. I want out of the box and I will get completely out of it. In Jesus' name, I will. So I cannot see what God is leading me to do, but I continue to press onward and do something.

When you get to Heaven, what new thing(s) do you look forward to doing musically?

I have asked God to allow me to be the heavenly choir director. I know that there may be others more worthy, but I was led years ago to ask this of God.

For those in the Metro DC area, when is your next major concert and who will be involved?

Currently, I am praying for adequate funding to realize a Lloyd Mallory Singers concert in August/September 2007. This concert will be an official announcement of this organizations’ intent to become professional. This meaning, the group will market itself to impresarios across the world. We will strive to sing at elementary, middle, and high schools; college and universities too. I love singing at small churches. The Aeolians when I conducted them always sang better at the smaller church in the woods or in areas that more renown groups cannot fit into their busy schedules. Although, I have a selected group, auditions will follow this official concert. The LMS will strive to maintain the precepts of a Christian life. We will keep the Sabbath. We will dare to impact an audience that differs from those ministering in other musical genres. I now plead with God to bless and enlarge my territory. So if the concert takes place in August/September, God has seen fit to answer my prayer.


Note:  You may contact Lloyd Mallory via his website as well as hear more musical selections.